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Unit 6 (Chapter 21 (Purcell and Early Opera (Early opera (opera (large…

- - - - opera
        
        large-scale drama that is sung
        
        involves vocal and instrumental music
        
        poetry, acting, scenery, costumes
      - recitative
        
        plot advanced through speech-like singing
      - arias
        
        are tuneful, emotional songs
      - ensembles numbers and chorus-larger groups
      - orchestra
        
        provides an overture or sinfonias - opening
      - librettist
        
        writes the script of the opera
      - opera meant for "Hyper-reality"
      - strong emotions portrayed through music
    - - outgrowth of renaissance theatrical traditions
        
        lavish spectacles
        
        e.g. Monteverdi's Orfeo (1607)
      - by 1642 public opera houses open in Venice
        
        widespread entertainment
        
        not mythological stories about love triangles and historical
        figures
        
        e.g. Monteverdi's Coronation of Poppea (1643)
      - by 1700 Italian opera popular throughout Europe
        
        except in France - had own tradition
    - - early 17th century masque
        
        popular among aristocracy
        
        combined vocal and instrumental music with poetry and dance
      - Commonwealth period
        
        stage plays forbidden - "of the devil"
        
        plays set to music could be passed off as a "concert"
        
        tradition behind England's first opera
    - - 1659-1695
      - various English court posts
      - wrote masque and operas
      - assimilated Italian&French styles to English choral singing
      - Dido and Aeneas (LG 11)
        
        first performed at a London Girl's school
        
        based on part of Virgil's Aeneid
        
        Aeneas shipwrecked on island of Carthage
        
        Aeneas & Queen of Carthage - fall in love
        
        witch tricks Aeneas and calls back to battle
        
        Aeneas leaves and Dido dies of broken heart
        
        last act features a lively hornpipe and concludes with a lament over a ground bass
        
        recitative with half-step
        
        slow aria in triple meter
        
        based on repeated chromatic ground bass
        
        A-A-B-B
        
        1689
        
        Act III, Opening
        
        sprightly tempo, in triple meter
        
        Major key, with chromatic foreshadowing of Lament
        
        strophic form
        
        string orchestra
- - - - Requiem = Mass for the Dead
      - Music for comfort & spiritual sustenance
      - originally for Catholic church but found way to concert hall
      - composers tend to customize the catholic tradition
      - usually in Latin
    - - died young, age of 35 (1791)
      - on deathbed working on funeral mass-requiem
        
        his last large-scale composition
        
        he died before finishing it
        
        was finished by Suessmayr
      - myths of poison but not true
      - Pauper's grave
    - - scored for SATB soloists plus chorus and orchestra
        
        orchestra included more instruments - bassoon & basset horn
        
        voices and instrument arrangement have dramatic effect
      - impact
        
        JFK's funeral
        
        9/11 commemorations
    - - Mozart did finish it
      - day of wrath for the funeral mass (requiem)
      - emphasizes power of divine intervention
      - choral opening then solo verse and choral finish
      - accented in duple meter
      - harsh combo of major and minor
      - homophonic
      - 8 verses - word painting
- - - - romantic music in France followed several streams
        
        grand orchestral music and operas
        
        pianists in salons and concert halls
        
        art song (Melodie) separate from German lied
        
        sacred music
        
        Faure's early career playing and composing music for Catholic church
    - - 1845-1924
      - French
      - trained to be a church musician in Paris
      - 1810-composition teacher at the Ecole Niedermeyer
      - later director of Paris Conservatory
      - influential music critic
      - French music advocate
      - style is restrained
        
        in direct contrast to German Romanticism
        
        e.g. Pavane
    - - 1888-1st performed for the funeral of an architect
      - nonstandard form
        
        freely edited Latin liturgical texts
        
        smaller chamber orchestra
        
        7 movements
      - sometimes celestial, sometimes funeral
      - Libera Me (LG 39)
        
        reassurance briefly interrupted by the Dies Irae
        
        1887-89
        
        D minor, some expressive chromaticism
        
        homophonic solo and choral writing
        
        three part, A-B-A'
- - - - Program Music = instrumental music with literary or pictorial association specified by the composer
      - Different from absolute music = musical patterns designed without meanings
      - program music is more artistic within society
    - - 1803 - 1869
      - born in Southern France
      - meant to be a physician but loved music
      - fan of Beethoven and Shakespeare
        
        fell in love with Harriet Smithson - actress performed Shakespeare
        
        married but loved Shakespeare actress more than her
      - works draw upon literary influences
        
        Goethe, Lord Byron & Shakespeare
      - genius orchestrator
    - - I. Reveries, passions
      - II. A ball
      - III. Scene in the Fields
      - IV. March to the Scaffold
      - V. Dream of a Witches' Sabbath
    - - music intense & bold
        
        first great proponent of musical romanticism in France
        
        his music is intense, bold and passionate
      - program symphony based on personal life
        
        27
        
        "young musician of morbid sensibility and ardent imagination, in...lovesick despair"
      - form - thematic transformation
      - Idee fixe
        
        recurring musical thread unifying the five movements
        
        varied throughout by harmony, meter, timbre, dynamics & register
      - duple-meter march
      - set in minor mode
      - diabolic mood, sudden dynamic changes
- - - - Neo-Romanticism
        
        embracing aspects of 19th century orchestral sound, including program music
        
        "modernizing" the 19th century orchestral tradition
        
        reclaimed 19th century harmonic & melodic language - just new context
      - romantic style of 1800s still performed in concert halls
      - some composers maintained a commitment to Romanticism, updating it
        
        Samuel Barber's adagio for strings
    - - born in Brooklyn in 1962
      - studied with George Crumb
      - inspired by Beatles
      - output spans most genres, described as having an "American" sound
      - rooting in tonality, Neo-Romanticism
      - Pulitzer price in 2010 for violin concerto
      - teaches compositions at the Curtis Institute
      - Blue Cathedral, excerpt (LG 61)
        
        written in 2000
        
        personal grief death of her brother
        
        overall
        
        lyrical - Neo-Romanticism
        
        no key center - lots major triads
        
        meters shift but mostly 5/4
        
        metallic percussions - including Chinese reflex balls
        
        homophonic
        
        transcendent mood
        
        program music
        
        tone colors
        
        biographical elements